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DTSTART;TZID=America/Halifax:20260403T170041
DTEND;TZID=America/Halifax:20230107T180000
DTSTAMP:20260403T170041
CREATED:20230109T180703Z
LAST-MODIFIED:20230109T180703Z
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SUMMARY:Joanne Freeman: New York Conversation
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to announce New York Conversation\, an upcoming exhibition of new work by Joanne Freeman. New York Conversation is Freeman’s third solo exhibition with the gallery. The show will be accompanied by a group show curated by Freeman titled Betty and Veronica. They will run concurrently from January 5th – February 11th\, 2023. \n  \n“New York Conversation references my studio process\, and metaphorically describes the random thoughts\, snippets of conversation\, lyrics and memories that ebb and flow over the course of a painting. Visual signs\, nostalgia and the emotional residue of color\, guide my aesthetic choices\,” Freeman says. While intuitive\, Freeman’s stencil-like forms and irregular hard-edge curves harken Modernism and minimalist sensibilities. This is heightened by a palette of saturated primary colors\, or monochromatic works.   “My paintings reference forms found in architecture and design\,” she says.  “I create compositions based on loose geometry and layered saturated colors. The hard edge process of cutting shapes and layering color onto treated raw linen\, recalls qualities of mid-century low-tech graphics\, color field painting and collage\,” she continues.  \n  \nThe forms are hard-edged while still breathy and organic.  The subtle transparencies at the edges of the forms and the contrast of the brushstrokes across the tooth of linen reveal the artist’s hand. “When applying oil paint to linen I try to accentuate the inherent qualities of both mediums\,” she says. “ I consider both the transparency and opacity of the colors\, how they abut and overlap\, and how they respond to the textured tooth of the linen.” She is mindful of each medium’s materiality when painting.  Her saturated colors in either gouache or oil paint are absorbed by the handmade paper or linen\, enhancing the modernist flatness of her forms and use of space. “My reductive abstract paintings are about the beauty of singular color\, the impact of pure abstract forms and the quiet order that cuts through the noise\,” Freeman says.  \n  \nJoanne Freeman has had solo exhibitions in galleries around the United States\, and shown at The Queens Museum\, Zillman Art Museum University of Maine\, The Painting Center\, and the Cape Cod Museum of Art. She’s a 2021 recipient of the Pollock-Krasner Foundation Grant\, and the Vice President of the American Abstract Artists organization. She has her M.A in Studio Art from New York University\, and lives and works in New York City. \n  Save  
URL:https://artinamericaguide.com/event/joanne-freeman-new-york-conversation/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
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ORGANIZER;CN="Kathryn Markel Fine Arts":MAILTO:markel@markelfinearts.com
GEO:40.9365358;-72.3040792
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Kathryn Markel Fine Arts 529 West 20th Suite 6W New York NY 10011 United States;X-APPLE-RADIUS=500;X-TITLE=529 West 20th\, Suite 6W:geo:-72.3040792,40.9365358
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20260403T170041
DTEND;TZID=America/Halifax:20230128T180000
DTSTAMP:20260403T170041
CREATED:20230109T180750Z
LAST-MODIFIED:20230109T180750Z
UID:101313-0-1674928800@artinamericaguide.com
SUMMARY:2023 Winter Juried Exhibitions
DESCRIPTION:BLUE MOUNTAIN GALLERY is pleased to present the work of 47 artists\, 51 pieces of artwork\, selected by Eric Holzman for this year’s winter juried exhibition. The artists\, drawn from over two hundred applicants from across the country\, work in a wide range of media\, including oil\, acrylic\, pastel\, gouache\, photography and mixed media.  \n​Heidi Alamanda \, Marilyn Allen\, Hilary Houston Bachelder\, James Baker\, Nina Kardon Baran\, Bob Barnett\, Raymond Berry\, Leslie Blackmon\, Pam Bowers\, Nancy Breakstone\, Karina Cavat\, Audrey Cohn-Ganz\, Elizabeth Courtney\, Anne Delaney\, Stephanie DeManuelle\, Kiran K Dhaliwal\, Janine Dunn Wade\, Melanie Essex\, Tom Fitzharris\, Meghan Fleming\, Nancy Granda\, Theresa Heidig Rooney\, Teresa Jade Jarzynski\, Moishe Kampin\, Sam Kelly\, Michele King\, Laura Levine\, Pattie Lipman\, Aaron Lubrick\, Manuel Alejandro Macarrulla\, James McKenna\, Elizabeth Meyersohn\, Mark. Milroy\, Blake Morgan\, Arnaldo J Rivera Rivera\, Gail Rodney\, Rebecca Gray Rolke\, Roxy Rubell\, Alyssa Schmidt\, Abbey Stace\, Leslie Ross Stephens\, Yuri Tayshete\, Preston Trombly\, Laura Vahlberg\, Ekaterina Vanovskaya\, Aidan White and Lenore Wolf. \n​Juror ERIC HOLZMAN has been painting and searching for connection in nature and other representational genres all his life. He is a romantic and a classicist who looks into the inner nature of things and tries to walk “The Beauty Way.” He was educated at Tyler School of Art\, Yale\, Skowhegan and the New York Studio School. Eric has taught at Pratt\, the New York Studio School\, and Bard College among others. He is a National Academician and has exhibited twice at the American Academy\, winning awards from both institutions.  Eric has also shown work at Lori Bookstein\, Tibor de Nagy\, Sideshow and Artist Equity\, all in NYC\, and at Gremillion Fine Art and Ellio Fine Art in Houston\, Texas. He has received many honors\, including grants and fellowships from the Guggenheim Foundation\, the NEA\, the Pollock Krasner Foundation\, the Gottlieb Foundation and the Louis Comfort Tiffany Foundation. Website: www.ericholzman.com \n\n  Save  
URL:https://artinamericaguide.com/event/2023-winter-juried-exhibitions/
LOCATION:Blue Mountain Gallery\, 547 W 27th St\, Suite 200\, New York\, NY\, 10001\, United States
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ORGANIZER;CN="Blue Mountan Gallery":MAILTO:info@bluemountaingallery.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T170041
DTEND;TZID=America/New_York:20250920T170000
DTSTAMP:20260403T170041
CREATED:20250722T184747Z
LAST-MODIFIED:20250722T184747Z
UID:114023-0-1758387600@artinamericaguide.com
SUMMARY:August-September @ Art Works!
DESCRIPTION:Throughout August Art Works is open to the public\, offering a variety of engaging exhibits. Adam and Anita Bradley present life-size figurative sculptures and paintings capturing a chaotic world. Mike Bily’s exhibit investigates ecosystems; Sharon Denmark captures light flowing through glass. Rachel Rowden exhibit is a portal of mysteries and Rebecca Visger provides a view from behind the wheel. Blake Bottoms exhibit is featured in the Community Bridge Project. \n  \nJoin us for a fun-filled scavenger hunt with prizes\, perfect for both the young and the young at heart. The activity culminates with prizes for all who participate. We also offer figure drawing sessions on the 1st and 3rd Sundays and Queer Life Drawing at Gold Lion Community Café on August 20th.  \n  \nBradley + Bradley: The Weight of Vanishing Shadows \nAdam and Anita Bradley explore the human condition through their unique mediums. Adam presents life-sized figurative sculptures in wood\, steel\, ceramics\, and smaller bronze pieces\, reflecting themes of anxiety\, loss\, and grief. Anita complements this with layered paintings and mixed media collages\, capturing the struggle for order in a chaotic world. Their intertwined approaches invite contemplation of deep human experiences. \n  \nThe exhibition will be in the Jane Sandelin Gallery at Art Works and will continue through September 20\, 2025. \n  \n  \nArtifacts by Anne Chamblin \nAnne Chamblin’s work is about merging sight and feeling. For her\, painting is a way to process what she experiences. She brings spaces\, places\, and faces to life on canvas\, turning bodies into landscapes and using layers to hint at the passage of time. Anne constantly reworks her paintings\, always keeping a bit of the past to shape the present. Her journey is grounded in everyday experiences\, resulting in unique\, relatable art. \n  \nThe exhibit will be in the Centre Gallery at Art Works through September 20\, 2025. \n  \n  \n  \n  \n  \nBetween Worlds by Hannah Anderson \n  \nAmerican abstract artist Hannah Anderson (b. 1953)\, raised in the simplicity of a Quaker household\, rediscovered her love for painting in 1990 with a Crayon watercolor set. Self-taught and inspired by contemporary artists\, her work reflects the light and dark periods of her life\, blending elements of nature and archetypal symbols from healing traditions. Her debut exhibit\, Between Worlds\, explores the liminal space between worlds and relationships. Hannah resides in Richmond\, Virginia\, and finds inspiration in Taos\, New Mexico. \n  \nThe exhibit will be in the Corner Gallery at Art Works through September 20\, 2025. \n  \n\nMental Health Matters: Celebrating Resilience Through Art All Media Show\nThis exhibit is a focal point of all Art Works’ openings. It is a juried show with cash prizes for 1st\, 2nd and 3rd place. The show is open to all artists and all mediums. \n  \nIn August the theme is Mental Health Matters: Celebrating Resilience Through Art. The community has donated terrific items that we will be auctioning to benefit NAMI\, and Art Works will donate the sales from the All Media Show to NAMI. \nWonJung Choi an international artist and educator\, will be the juror for the exhibit. Wonjung Choi is a Korean-born\, Virginia-based artist whose multidisciplinary work delves into the complexities of identity formation in a globalized world. See more on WonJung’s website: Click here. \n  \nCall for entries is July 15  – August 10\, 2025\, and may be submitted through the online form. The exhibit will be in the Port Gallery at Art Works through September 18\, 2025. Check our website for details on submitting artwork:  Call for Entries \n  Save  
URL:https://artinamericaguide.com/event/august-september-art-works-2/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/07/PR-2025.08-Anne-Chamblin-scaled.jpg
ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T170041
DTEND;TZID=America/New_York:20250926T200000
DTSTAMP:20260403T170041
CREATED:20250903T144946Z
LAST-MODIFIED:20250903T144946Z
UID:114439-0-1758916800@artinamericaguide.com
SUMMARY:4th Friday Art Shows and Opening Reception @ Art Works!
DESCRIPTION:4th Friday September 26th at Art Works \n  \nJoin us on September 26\, 2025 from 6 p.m. to 8 p.m. for an exciting opening reception of our new exhibits at Art Works. Meet the talented artists\, and enjoy live music\, refreshments\, and libations sponsored by RVA Thriving Artists.  The featured artists are Adam Reinhart\, Jen Cook-Asaro\, Sarah Miller\, Tatiana Grace\, Kenneth Lee\, and experiment with interactive art by RVA Game Jams. \n  \nThis event is free and open to the public. Convenient and free parking is available. The exhibits will continue through October 18\, 2025. \n  Save  
URL:https://artinamericaguide.com/event/4th-friday-art-shows-and-opening-reception-art-works-56/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/08/PR-2025.09-Game-Jam-scaled.jpg
ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T170041
DTEND;TZID=America/New_York:20250927T180000
DTSTAMP:20260403T170041
CREATED:20250811T200044Z
LAST-MODIFIED:20250811T200044Z
UID:114212-0-1758996000@artinamericaguide.com
SUMMARY:Heather Stivison\, “Ebb & Flow”\, a Solo Exhibition
DESCRIPTION:In this her third New York City solo exhibition\, Heather Stivison explores the intersection of environmental science and visual art with a series of immersive paintings of the ocean. \nStivison paintings capture the essence of water—something clear and colorless\, with its shape formed entirely by the external forces of objects\, land\, wind\, gravity. Searching for water’s most primary qualities\, she uses light\, color\, form\, shape\, line\, to engender a sense of water. Fluidity\, reflections\, rhythms are evident in her ocean surface paintings. Stivison is fascinated by the reflections and patterns created by the coastal ocean surface. She paints variations on patterns\, exploring how much she can change them and still maintain the sense that the subject is surface water. \nCurator and director of Manhattan Arts International Renee Phillips writes: \n“Stivison ventures beyond nature’s physical boundaries into abstraction with the profusion of free-flowing biomorphic patterns and tonal ranges. In her paintings the innate attributes of water evolve into metaphors\, symbolism and visual poetry.” \nThe exhibition includes a massive 110-inch quadriptych that explores the sense of weightlessness and mystery that she finds in the imagining unknown ocean depths. Other paintings explore surface water patterns as abstract design. \nIndependent curator Kathy Imlay writes: \n“Stivison’s paintings have a luminous glow—accomplished by the artist building up layer upon layer of viscous paint\, which she pours\, smears\, scrapes and otherwise manipulates to create fields of color that conjure the watery depths of the ocean or intergalactic space\, depending on the palette.” \nSome of the paintings on view are the result of her multi-year\, grant funded collaboration with Noah Germolus\, a scientist at Woods Hole Oceanographic Institute who was researching ocean chemistry. Stivison created two paintings about him and his work\, and four five-foot paintings that interpret his research data in paint. \nThe collaboration led to a unique special feature of this exhibition. After Stivison interpreted his data in paint\, he in turn\, interpreted four of her paintings in music. The exhibition includes an on-demand sound installation of original jazz music composed and performed by Germolus. \n  Save  
URL:https://artinamericaguide.com/event/heather-stivison-ebb-flow-a-solo-exhibition/
LOCATION:Pleiades Gallery\, 547 W 27th St. Suite 304\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/08/stivison-heather_Coastal-Surface-Community_48x60_Oil-over-Acrylic-on-Canvas.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T170041
DTEND;TZID=America/New_York:20251018T170000
DTSTAMP:20260403T170041
CREATED:20250903T144946Z
LAST-MODIFIED:20250903T144946Z
UID:114443-0-1760806800@artinamericaguide.com
SUMMARY:September - October Exhibits @ Art Works!
DESCRIPTION:Now showing six new exhibits. The featured artists are Adam Reinhart\, Jen Cook-Asaro\, Sarah Miller\, Tatiana Grace\, Kenneth Lee\, and experiment with interactive art by RVA Game Jams. Also see 80+ working artist studios. \nVisit us Tuesdays through Sundays 11am- 5pm. Admission is free and open to the public. Convenient and free parking is available. The exhibits will continue through October 18\, 2025. \n  Save  
URL:https://artinamericaguide.com/event/september-october-exhibits-art-works-4/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/08/PR-2025.09-Game-Jam-1-scaled.jpg
ORGANIZER;CN="Art Works":MAILTO:glenda@artworksrichmond.com
GEO:37.524914;-77.437258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T170041
DTEND;TZID=America/New_York:20251122T170000
DTSTAMP:20260403T170041
CREATED:20250908T192551Z
LAST-MODIFIED:20250908T192551Z
UID:114572-0-1763830800@artinamericaguide.com
SUMMARY:October - November Exhibits @ Art Works!
DESCRIPTION:Now showing six new exhibits. The featured artists are Blake Seals\, Felicia L. Reed\, Adam Reinhard\, Sorvino\, and Tobi Holtslag. Also see 80+ working artist studios. \nVisit us Tuesdays through Sundays 11am- 5pm. Admission is free and open to the public. Convenient and free parking is available. The exhibits will continue through November 22nd 2025. \n  Save  
URL:https://artinamericaguide.com/event/october-november-exhibits-art-works-5/
LOCATION:Art Works\, 320 Hull Street\, Richmond\, VA\, 23224\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2025/09/PR-2025.10-Chris-Semtner-3-scaled.jpg
ORGANIZER;CN="Art Works":MAILTO:jessie@artworksrva.com
GEO:37.524914;-77.437258
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Art Works 320 Hull Street Richmond VA 23224 United States;X-APPLE-RADIUS=500;X-TITLE=320 Hull Street:geo:-77.437258,37.524914
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260403T170041
DTEND;TZID=America/New_York:20260221T180000
DTSTAMP:20260403T170041
CREATED:20260120T172859Z
LAST-MODIFIED:20260120T172859Z
UID:115685-0-1771696800@artinamericaguide.com
SUMMARY:Robert Braczyk: Cardinal Directions
DESCRIPTION:Exhibition Dates: January 27 – February 21\, 2026\nOpening Reception: Thurs.\, January 29\, 2026\, 5PM-8PM\nArtist Talk: Saturday\, February 14\, 2026\, 3PM-4PM\nGallery Hours: Tuesday – Saturday\, 11AM-6PM \nBowery Gallery is pleased to present “Cardinal Directions\,” an exhibition of new sculpture by Robert Braczyk.  \nFor many years a prize-winning figurative sculptor\, in recent years Braczyk has turned to abstraction. In his new work—most about 24 inches high—he assembles various tree elements into vertical compositions that echo figural forms\, but whose abstract vocabulary of open volumes and discontinuous contours suggests the possibility of multiple allusions. Each work evinces a powerful spatial tension between the cardinal point from which it is begun and the complex three-dimensional image that Braczyk builds with primary thrust\, axis\, and meridian.  \nBraczyk’s trajectory from figure to abstract figure may be seen as a temporal through line connecting the events of a life. The artist’s comment that he brings all his life’s experiences into the studio reminds us that in the long arc of his career\, the spatial and temporal are never far apart. \nView the exhibition website. \n  \nBowery Gallery\n547 W. 27th Street\, Suite 508\nNew York\, NY 10001 \n  Save  
URL:https://artinamericaguide.com/event/robert-braczyk-cardinal-directions/
LOCATION:Bowery Gallery\, 547 W 27TH ST Suite 508\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2026/01/Braczyk_Reel_for_eVite-and_Web_landing-page-scaled.jpg
ORGANIZER;CN="Bowery Gallery":MAILTO:info@bowerygallery.org
GEO:40.7493621;-74.0047021
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Bowery Gallery 547 W 27TH ST Suite 508 New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=547 W 27TH ST Suite 508:geo:-74.0047021,40.7493621
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211015
DTEND;VALUE=DATE:20230502
DTSTAMP:20260403T170041
CREATED:20210830T210225Z
LAST-MODIFIED:20221026T173030Z
UID:86151-1634256000-1682985599@artinamericaguide.com
SUMMARY:Debut
DESCRIPTION:Opening in fall of 2021\, Debut will feature artwork from the Spencer Museum’s collection that has never been exhibited in our building since it opened in 1978. The eclectic artwork assembled is explored through seven broad thematic sections. Debut will remain on view for the duration of Phase II renovation and the complete reinstall of our fourth-floor collection galleries. As we undergo these transformative changes\, Debut presents previously unseen works in conversation with more familiar art from the collection that is frequently used for teaching and research. This exhibition is supported by Friends of the Art Museum\, KU Student Senate\, and the Linda Inman Bailey Exhibitions Fund. \n  Save  
URL:https://artinamericaguide.com/event/debut/
LOCATION:Spencer Museum of Art\, University of Kansas\, 1301 Mississippi St.\, Lawrence\, KS\, 66045\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/08/2014.0090.jpg
ORGANIZER;CN="Spencer Museum of Art%2C University of Kansas":MAILTO:spencerart@ku.edu
GEO:38.9596803;-95.244588
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Spencer Museum of Art University of Kansas 1301 Mississippi St. Lawrence KS 66045 United States;X-APPLE-RADIUS=500;X-TITLE=1301 Mississippi St.:geo:-95.244588,38.9596803
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220405T100000
DTEND;TZID=America/Halifax:20230326T160000
DTSTAMP:20260403T170041
CREATED:20220404T171932Z
LAST-MODIFIED:20220404T171932Z
UID:93171-1649152800-1679846400@artinamericaguide.com
SUMMARY:In the Adjacent Possible
DESCRIPTION:In the Adjacent Possible is a response to sociologist Ruha Benjamin’s suggestion to “imagine and craft the worlds you cannot live without\, just as you dismantle the ones you cannot live within.” \nEach of the five artists’ installations provides a vantage point for viewing the many potentialities that lie just beyond what we know. They conjure worlds that are not quite here\, yet are within our grasp. They place us in the adjacent possible\, a space where we can dream alternative ways of being in the world. \nThe exhibition forms a speculative architecture that explores myriad approaches to and understandings of proposed and promised strategies of living. These artists offer prospective blueprints of other worlds\, often constructed from the remnants of our current one. Engaging issues of colonialism\, feminism\, queerness\, identity\, and stereotypes\, In the Adjacent Possible suggests ways we can reimagine the present and explores the infinite horizon of opportunities at the boundaries of our reach. \nhttps://www.jmkac.org/exhibition/in-the-adjacent-possible/ \nImage: In the Adjacent Possible artists (clockwise from upper left): Suchitra Mattai\, Haleigh Nickerson\, Yasmine K. Kasem\, Nyugen E. Smith\, and Jessica Campbell. \nTuesday\, Wednesday\, Friday 10 a.m. to 5 p.m.\nThursday 10 a.m. to 8 p.m. extended hours\nSaturday and Sunday 10 a.m. to 4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/in-the-adjacent-possible/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220521T100000
DTEND;TZID=America/Halifax:20230521T170000
DTSTAMP:20260403T170041
CREATED:20220404T171850Z
LAST-MODIFIED:20220404T171850Z
UID:93177-1653127200-1684688400@artinamericaguide.com
SUMMARY:Creative! Growth!
DESCRIPTION:Creative! Growth! will be the first exhibition to consider the history of Creative Growth Art Center in Oakland\, California. \nFounded in 1974 by artist Florence Ludins-Katz (1912–1990) and her psychologist husband Elias Katz (1913–2008)\, Creative Growth emerged from the larger social\, cultural\, and political narratives associated with the Bay Area in the late 1960s and early 1970s—including the women’s\, gay\, and civil rights movements. The arts and disabilities movement\, which championed the civil rights of disabled persons and fought against their marginalization in arts and culture\, flourished during this era. The Katzes were among that movement’s most farsighted and committed advocates. \nCreative! Growth! is curated by Matthew Higgs and will consider the organization’s history and legacy through the lens of the present. Now approaching its fiftieth anniversary\, Creative Growth is the preeminent center for artists with disabilities in the United States\, and has\, in turn\, become a model for similar centers nationally and internationally. At Creative Growth\, the Katzes established a unique and fiercely independent environment where disabled individuals are empowered to explore their creativity at their own pace. \nThe staff at Creative Growth\, almost exclusively practicing artists\, are not teachers in any conventional sense\, as no formal instruction takes place. Rather\, the staff members work alongside the artists with disabilities\, introducing them to new materials and processes\, offering practical and technical assistance where necessary\, and supporting their idiosyncratic approaches to self-expression. \nCreative! Growth! will consider the organization’s history and legacy through the lens of the present. There are a number of discrete solo presentations by key artists who were—or remain—affiliated with Creative Growth\, including Judith Scott (1943–2005)\, Dwight Mackintosh (1906–1999)\, William Scott\, Dan Miller\, Monica Valentine\, Tony Pedemonte\, Nicole Storm\, and John Martin. Photographer and documentary filmmaker Cheryl Dunn will present a selection from her twenty-plus-year archives documenting the artists at Creative Growth. \nhttps://www.jmkac.org/exhibition/creative-growth/ \nImage: Creative Growth studio interior. Courtesy of Creative Growth. Photo: Ben Blackwell. \nTuesday\, Wednesday\, Friday 10 a.m. to 5 p.m.\nThursday 10 a.m. to 8 p.m. extended hours\nSaturday and Sunday 10 a.m. to 4 p.m. \n  Save  
URL:https://artinamericaguide.com/event/creative-growth/
LOCATION:John Michael Kohler Arts Center\, 608 New York Avenue\, Sheboygan\, WI\, 53081\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2022/04/ex.cre_.2022.0001-4x3-1.png
ORGANIZER;CN="John Michael Kohler Arts Center":MAILTO:generalinfo@jmkac.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220623T080000
DTEND;TZID=America/Halifax:20230108T170000
DTSTAMP:20260403T170041
CREATED:20220623T155303Z
LAST-MODIFIED:20220628T163300Z
UID:94152-1655971200-1673197200@artinamericaguide.com
SUMMARY:Alvin Roy
DESCRIPTION:Alvin Roy is a mid-career painter and sculptor who lives and works in Houston\, Texas. Roy has exhibited extensively notably as part of the national tour “Southern Journeys: African American Artists of the South” (2012). Alvin Roy’s abstract paintings from torn painted paper are inspired by the quilting tradition passed down by the women in his family and his wall sculptures are deep spiritual icons embodying the power of Egyptian myth and ancient archetypes. Alvin Roy’s abstract artworks will be on view in Bridgehampton\, NY from August 11 – 14\, 2022 and in New York City during the Art on Paper Fair Sept. 8 – 11\, 2022 at Pier 36. This virtual exhibition is a response to the difficulties that artists have faced getting their work viewed during the Pandemic. \n  Save  
URL:https://artinamericaguide.com/event/alvin-roy/
LOCATION:Cross Contemporary Art Projects\, 34 Tinker Street\, Woodstock\, NY\, 12498\, United States
CATEGORIES:Virtual Events + Viewing Rooms
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ORGANIZER;CN="Cross Contemporary Art Projects":MAILTO:crosscontemporaryprojects@gmail.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220722T110000
DTEND;TZID=America/New_York:20240804T180000
DTSTAMP:20260403T170041
CREATED:20220622T153511Z
LAST-MODIFIED:20240229T212126Z
UID:94138-1658487600-1722794400@artinamericaguide.com
SUMMARY:Evergreen: Art from the Collection
DESCRIPTION:Evergreen: Art from the Collection celebrates SJMA’s collection as both a gift to and a product of its community. This dedicated gallery space\, which provides long-term access to the Museum’s collection\, honors the community members who rallied together to establish the Museum; the artists who trust us to care for their visions; the generous donors who helped to build the collection; the generations of students who have visited; the volunteers and staff who have contributed; and the breadth of community experiences that give ongoing meaning to the works. \nLocated in the Museum’s historic building—formerly the city’s post office and library—Evergreen highlights the Museum’s growing collection and the numerous San José stories it tells. The gallery features such works as rafa esparza’s Yosi con Abuela (2021)\, a recently acquired portrait on adobe of the East San José poet and activist Yosimar Reyes with his grandmother. Also on view are Resident Alien (1988) by Hung Liu\, the beloved Bay Area artist and longtime friend of SJMA\, and Louise Nevelson’s monumental Sky Cathedral (1957–58)\, a centerpiece of the Museum’s collection. The gallery also includes access points to the free digital collection catalog 50×50: Stories of Visionary Artists from the Collection\, which highlights the stories and impact of artists in the Museum’s collection. \n  Save  
URL:https://artinamericaguide.com/event/evergreen-art-from-the-collection/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220723T110000
DTEND;TZID=America/Halifax:20230123T180000
DTSTAMP:20260403T170041
CREATED:20220511T143406Z
LAST-MODIFIED:20220621T201500Z
UID:93527-1658574000-1674496800@artinamericaguide.com
SUMMARY:Brett Weston
DESCRIPTION:Recognized for his bold\, abstract compositions of Western American landscapes and natural forms\, and for his daring printing style\, Brett Weston was a leading photographer of the early twentieth century. The second son of acclaimed photographer Edward Weston\, Brett Weston devoted his entire life to photography\, experimenting with various printing processes and exploring a wide range of themes and contexts to create a unique body of work that transcends comparison to his famous father’s images. Although he acknowledged his father as a huge artistic influence and admired the work of other photographers including Paul Strand\, Charles Sheeler\, and Henri Cartier-Bresson\, Weston was also greatly inspired by artists working in painting and sculpture such as Georgia O’Keefe (whom he once proclaimed as the greatest living American painter)\, Constantin Brancusi\, and Henry Moore. Weston initially used his father’s second camera\, a 3 ¼ x 4 ¼ inch Graflex\, to make his first photographs in 1925. The images from this period reflect an intuitive and sophisticated approach to abstraction that would blossom later in his career when he began making pictures with an 8×10 inch camera. Brett Weston features fifty-one photographs drawn exclusively from the permanent collection of the San José Museum of Art and span approximately 40 years from the 1930s through the 1970s. The exhibition comprises images of natural landscapes and seascapes near Big Sur and Carmel\, California; the Oregon Coast; and White Sands\, New Mexico; as well as from three major portfolios: “Baja California\,” “Abstraction I\,” and “Abstraction II.” Although he traveled extensively and photographed throughout the world\, Weston’s chosen subjects—twisted branches\, tangled kelp\, rock formations\, cracked mud\, and knotted roots—remained enduring motifs in his work. \nIn 2020\, SJMA was gifted fifty photographs by Weston from the Christian Keesee Collection\, containing The Brett Weston Archive that represents the most complete body of the artist’s work in the world. Many of the photographs donated to SJMA are vintage prints\, produced in the same year as the image was taken\, and a few were printed later by the artist. On his 80th birthday\, Weston burned all but a dozen of his negatives to underscore his belief that only an artist should print their own photographs. \n  Save  
URL:https://artinamericaguide.com/event/brett-weston/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220806T100000
DTEND;TZID=America/Halifax:20230129T180000
DTSTAMP:20260403T170041
CREATED:20221017T175717Z
LAST-MODIFIED:20221017T175717Z
UID:99928-1659780000-1675015200@artinamericaguide.com
SUMMARY:LaToya Ruby Frazier: Flint Is Family In Three Acts
DESCRIPTION:“No matter how dark a situation may be\, a camera can extract the light and turn a negative into a positive. In creating Flint Is Family In Three Acts\, I see the role of photographs as empowering and enacting visible change: in Act I\, the photographs bear witness and reclaim history; in Act II\, the photographs reveal a hidden narrative; in Act III\, the photographs are a catalyst for obtaining resources.” —LaToya Ruby Frazier \nFlint Is Family In Three Acts is a multi-part exhibition by renowned artist LaToya Ruby Frazier. For five years\, Frazier researched and collaborated with two poets\, activists\, mothers and residents of Flint\, Michigan\, Shea Cobb and Amber Hasan\, as they endured one of the most devastating ecological crises in U.S. history. Resulting in a monumental oeuvre of photographs\, video\, and texts Frazier developed Flint Is Family In Three Acts (2016–2021) to advocate for access to clean and safe drinking water for all regardless of race\, religion and economic status. The series records stories of surviving and thriving\, especially within racialized and marginalized neighborhoods in Flint\, to ensure that they remained visible in national debates concerning environmental justice. Drawing inspiration from the urgency in Frazier’s work\, which also sheds light on building equitable and inclusive futures Stamps Gallery\, part of Penny W. Stamps School of Art & Design at University of Michigan\, initiated a partnership with the Flint Institute of Arts and the Eli and Edythe Broad Art Museum at Michigan State University to bring this important exhibition together for the first time in Michigan. As co-presenters of this landmark exhibition our goal is to offer a creative pedagogical platform that reaches broader audiences across Michigan and beyond—Flint is Family: Act I (2016–2017) will take place at the Flint Institute of Arts\, Act II (2017–2019) at the Eli and Edythe Broad Art Museum\, and Act III (2019) at Stamps Gallery. The exhibition served as a catalyst to bring three disparate institutions together to deepen our understanding of individual and institutional agency in advocating for equity\, transparency and environmental justice in our respective communities\, while also highlighting the role of the artist as an agent for enacting positive social change. \nOrganized by Stamps Gallery in partnership with the Eli and Edythe Broad Art Museum at Michigan State University\, and the Flint Institute of Arts. Curated by Srimoyee Mitra\, Tracee Glab\, and Steven L. Bridges with the assistance of Jennifer Junkermeier-Khan\, Rachel Winter\, and Rachael Holstege. \n  Save  
URL:https://artinamericaguide.com/event/latoya-ruby-frazier-flint-is-family-in-three-acts/
LOCATION:Eli and Edythe Broad Art Museum at Michigan State University\, 547 E. Circle Dr.\, East Lansing\, MI\, 48824\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Eli and Edythe Broad Art Museum at Michigan State University":MAILTO:eebam@msu.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220816T110000
DTEND;TZID=America/Halifax:20230127T160000
DTSTAMP:20260403T170041
CREATED:20220817T144755Z
LAST-MODIFIED:20220817T161258Z
UID:96237-1660647600-1674835200@artinamericaguide.com
SUMMARY:Off the Press
DESCRIPTION:A print\, in the broadest definition\, is a work of art comprised of ink on paper created through an indirect transfer process.  Four major printmaking methods have been developed over the centuries: relief\, intaglio\, and the planographic techniques of lithography and screenprinting. Each printmaking method produces a work on paper that has an individual and identifiable quality. \n  \nOff the Press features works from the Hofstra University Museum of Art collection and provides examples of these four printmaking techniques.  The collection contains more than 2\,200 prints in a range of mediums and processes that date from the late 16th century to the 21st century.  As printmaking techniques have developed over the centuries\, artists have explored the possibilities and pushed the boundaries of traditional printmaking.  Digital technology has added additional pathways for this artistic exploration. \n  \nFunding has been provided by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. \n  \nAdmission is free. \n  Save  
URL:https://artinamericaguide.com/event/off-the-press/2022-08-16/
LOCATION:David Filderman Gallery at Hofstra University\, 112 Hofstra University\, Hempstead\, New York
CATEGORIES:Exhibition
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ORGANIZER;CN="Hofstra University Museum of Art":MAILTO:museum@hofstra.edu
GEO:40.7133721;-73.6015642
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20220819T100000
DTEND;TZID=America/Chicago:20230212T170000
DTSTAMP:20260403T170041
CREATED:20220128T003311Z
LAST-MODIFIED:20220708T162738Z
UID:91662-1660903200-1676221200@artinamericaguide.com
SUMMARY:You Select: A Community-Curated Exhibition
DESCRIPTION:Since its opening ten years ago\, the Clyfford Still Museum has presented more than 950 works of art by Still in over thirty different exhibitions. Yet\, over two-thirds of the Museum’s art collection remains unseen to the world. In the culminating exhibition of CSM’s tenth anniversary celebration year\, You Select: A Community-Curated Exhibition hands the curatorial reins to art lovers from the surrounding Denver community and beyond. \nCSM asked art lovers from the Denver area and beyond to select works in five different categories for the exhibition through a voting platform on the Museum’s website. The categories represent five themes in Still’s work that represent moments when the artist’s environs were particularly influential. After an eight-week voting period\, CSM’s associate curator\, Bailey Placzek\, arranged the pieces that received the most votes on the walls of the Museum’s skylit galleries. \nYou Select is designed to foster far-reaching engagement and appreciation of Clyfford Still’s art and artistic legacy. Unbeknownst to many\, the City of Denver owns the more than 3\,000 art objects held at the Clyfford Still Museum. Still gifted his art to a public entity to share his life’s work with a wide and diverse audience. He believed that art was an expression for all of humanity to enjoy and share\, not just the art historians\, critics\, and so-called “art experts.” Like the artist himself\, CSM believes that there is valuable knowledge to gain about Still’s art and the power of abstraction from the surrounding communities and passionate individuals from around the world. \n  Save  
URL:https://artinamericaguide.com/event/you-select-a-community-curated-exhibition/
LOCATION:Clyfford Still Museum\, 1250 Bannock St.\, Denver\, CO\, 80204\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Clyfford Still Museum":MAILTO:press@clyffordstillmuseum.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220903T110000
DTEND;TZID=America/Halifax:20230423T180000
DTSTAMP:20260403T170041
CREATED:20220511T143406Z
LAST-MODIFIED:20220511T143406Z
UID:93529-1662202800-1682272800@artinamericaguide.com
SUMMARY:Kelly Akashi: Formations
DESCRIPTION:Kelly Akashi is known for her materially hybrid works that are compelling both formally and conceptually. Originally trained in analog photography\, the artist is drawn to fluid\, impressionable materials and old-world craft techniques\, such as glass blowing and casting\, candle making\, bronze and silicone casting\, and rope making. Encompassing a selection of artworks made over the past decade\, Kelly Akashi: Formations is the first major exhibition of the artist’s work\, and will feature a newly commissioned series in which Akashi explores the inherited impact of her family’s imprisonment in a Japanese American incarceration camp during World War II. \nThrough evocative combinations that seem both familiar and strange\, Akashi cultivates relationships among a variety of things to investigate how they can actively convey their histories and potential for change. She often pairs hand-blown glass or wax forms with unique and temporally specific bronze casts of her own hand\, each a unique record of the slow-changing human body. Akashi’s interest in time—embedded in the materiality of many of her processes—has led her to study fossils and botany\, locating humankind within a longer geological timeline. \nKelly Akashi: Formations is the first major exhibition and catalog of Akashi’s work. The exhibition will be on view from September 3\, 2022—April 23\, 2023 in San Jose before touring nationally. \n  Save  
URL:https://artinamericaguide.com/event/kelly-akashi-formations/
LOCATION:San Jose Museum of Art\, 110 S. Market Street\, San Jose\, CA\, 95113\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220907T110000
DTEND;TZID=America/Halifax:20230107T170000
DTSTAMP:20260403T170041
CREATED:20220823T191528Z
LAST-MODIFIED:20220823T191528Z
UID:96973-1662548400-1673110800@artinamericaguide.com
SUMMARY:Funk Art Exhibition at John Natsoulas Gallery
DESCRIPTION:Join us at the John Natsoulas Gallery in Davis\, California for the upcoming\, captivating exhibition California Funk to Figuration: A New Narrative Mythology. The exhibition will be open from September 7 to January 7\, 2022. The opening reception is on September 9\, and will feature live music and free beverages. \nThis exhibition will feature works by the incredible men and women who shaped the Funk Movement. Through their artworks\, including painting\, sculpture\, and works on paper\, Funk artists consciously undermine expectations. The colorful works all playfully address narrative themes\, some more enigmatic than others. Funk Art organically emerged in the 1960s in the leading art schools in California as a rebellious response to both the restrictiveness of Bay Area Figurative Art and the non-objectivity of Abstract Expressionism. While Funk Art has continued to elude a decisive definition\, its hallmark is a significant degree of absurdity. Artists famously responded\, “when you see it\, you know it\,” when asked to describe the movement. \nThose championing the ridiculousness that is the fundamental doctrine of Funk are known for their collaborations and the impressive followings that they inspired among their students. Some of the artists whose works will be on display include Roy De Forest\, Robert Arneson\, Peter Saul\, Robert Colescott\, David Gilhooly\, Louise Stanely\, Patrick Siler\, Jim Albertson\, Gladyss Nielsson\, Jim Nutt and many more. The Funk Movement is often categorized as a West Coast art style\, but this show will bring together artists from California and the other major center of the style- Chicago. This exhibition will highlight the shared philosophies of different generations of artists\, who all imbued their works with unorthodox tradition and self-referential humor. \nCome visit the John Natsoulas Gallery for the very exciting opportunity to see historic artwork that truly captures the energy and absurdism of the Funk Movement. \n  \n  Save  
URL:https://artinamericaguide.com/event/funk-art-exhibition-at-john-natsoulas-gallery/
LOCATION:John Natsoulas Gallery\, 521 First st\, Davis\, CA\, 95616\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="John Natsoulas Gallery":MAILTO:art@natsoulas.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220909T080000
DTEND;TZID=America/Halifax:20230108T170000
DTSTAMP:20260403T170041
CREATED:20220826T172107Z
LAST-MODIFIED:20220826T172107Z
UID:97185-1662710400-1673197200@artinamericaguide.com
SUMMARY:Fazal Sheikh: Exposures
DESCRIPTION:A new exhibition of work by the artist Fazal Sheikh reveals the far-reaching consequences of environmental racism in the Middle East and the American Southwest \nFrom September 9\, 2022\, to January 8\, 2023\, the Yale University Art Gallery presents Fazal Sheikh: Exposures. Organized by Judy Ditner\, the Richard Benson Associate Curator of Photography and Digital Media\, with Isabella Shey Robbins (Diné)\, PH.D. candidate in History of Art and American Studies at Yale\, the exhibition draws together two extensive photographic projects made in two different regions of the world to call attention to the far-reaching consequences of environmental racism. Working over a 10-year period\, first engaging with the legacy of the 1948 Arab-Israeli War (in his project Erasure) and then with resource extraction in the American Southwest (in Exposure)\, the American artist Fazal Sheikh (born 1965) weaves together portraiture\, landscape photography\, historical documentation\, and personal interviews. The long-term commitment to the people and communities on which the artist focuses was essential to Sheikh’s goal of creating a broader understanding of their lives and circumstances to help counter the ignorance and prejudice they so often face. \n“This exhibition highlights the nuances of and similarities among the struggles of global Indigenous communities\,” says Judy Ditner. “Sheikh’s intimate portraits and the personal stories of his sitters reveal both the immediate and generational harm enacted on these groups. His approach to landscape is equally tender\, photographing the land not only to convey visual evidence of environmental damage but also as an expression of deep respect.” Isabella Shey Robbins explains\, “Viewing these seemingly disparate projects together imparts an understanding of the immense risks facing Indigenous peoples\, emphasizing the need for protecting their lands and their ways of life and calling for an active fight against settler colonial environmental racism.” \nExposure (2017–22) is set primarily within the Four Corners region of the American Southwest. Ancestral home to the Hopi\, Navajo\, Uintah Ouray Ute\, Ute Mountain Ute\, and Zuni tribes\, this land abounds with geological\, cultural\, spiritual\, ecological\, and archaeological diversity. For this project\, Sheikh partnered with Utah Diné Bikéyah (UDB)—a nonprofit coalition of the five abovementioned tribes—along with Native elders and a team of research scientists from Princeton University\, New Jersey\, to explore the region’s history of uranium\, coal\, oil\, and natural-gas extraction and its impact on the health and well-being of local populations. Paired with personal testimonies\, Sheikh’s intimate portraits of Native elders\, community leaders\, and miners and their family members offer evidence of the violence that Indigenous inhabitants have experienced. \nOne section of Exposure\, titled In Place\, is a collaborative installation of images\, symbols of Navajo spirituality\, and sound\, affording visitors a multisensory experience of the Bears Ears area in southeastern Utah. The region is named after the iconic twin plateaus of Cedar Mesa\, which resemble “bears’ ears”—or\, in each of the area’s Native languages\, Hoon’Naqvut (Hopi)\, Shash Jaa’ (Navajo)\, Kwiyagatu Nukavachi (Ute)\, and Ansh An Lashokdiwe (Zuni). Sheikh’s photographs here present the majestic vistas in this part of Red Rock Country. Understanding that he is a guest on these lands\, the artist shares the truths and beauty of these sacred places as an expression of solidarity with and care for their Indigenous inhabitants. At the center of this contemplative space is a unique contribution called Offering\, by Jonah Yellowman (Diné)\, spiritual advisor to UDB and one of its founding members. This and the accompanying flags created by Yellowman’s daughter\, Trina Yellowman (Diné)\, represent Navajo spirituality and a deep connection to the land. Sound recordings by geologist Jeffrey Ralston Moore and his team at the University of Utah\, Salt Lake City\, resonate throughout this gallery of the exhibition. Taken from seismometer readings of the red-rock formations\, the recordings\, titled Grounding\, make audible the heartbeat of the land. \nThrough four interconnected series set in the northern reaches of the Negev Desert (Arabic: an-Naqab)\, Erasure (2010–15) addresses the ongoing legacy of the 1948 Arab-Israeli War—referred to by the Arab population as the Nakba (Catastrophe) and by the Israeli population as the War of Independence. The photographs in Erasure are displayed alongside historical research\, scientific analysis\, and orally transmitted local knowledge\, pointing to the Negev’s often hidden geographical\, historical\, and political circumstances. In one of the four series that make up Erasure\, titled Desert Bloom\, the use of aerial photography allows Sheikh to capture traces of defunct military zones and former Bedouin villages\, newly planted forests alongside villages currently under threat\, and the growing sprawl of Israeli settlements. These are accompanied by detailed captions that geolocate each site\, making clear the forces of militarization\, industrialization\, and settlement that produced the current scars on the land. Another section\, The Conflict Shoreline—Sheikh’s collaboration with the British-Israeli architect and researcher Eyal Weizman—exposes the decades-long entanglement of climate change and political conflict in the Negev. Here\, sensitive portraits of activists for Bedouin rights\, bird’s-eye views of a contested village on the Negev’s northern threshold\, citizen-gathered video documentation\, and a research-based visual case study challenge dominant historical accounts by revealing latent signs of violence. \nSheikh’s attunement to the political and social complexity of this region is fundamental to his approach. Memory Trace connects imagery of ruins\, landscapes\, and displaced populations following the 1948 war to census and military data as well as to personal accounts of evacuation and depopulation. The works attest to a process of displacement and exile for which straightforward photographic documentation is insufficient. Finally\, invoking the divisions of the past and the hopes for resolution in the future\, Independence/Nakba features paired portraits of Israelis and Palestinians born in the same year\, from 1948 to 2013. The intimacy\, trust\, and care that Sheikh cultivates through these portraits harmonize with the visual evidence contained in the photographs\, an interplay of closeness and distance that recognizes the importance of memory\, witnessing\, and testimony. \n  Save  
URL:https://artinamericaguide.com/event/fazal-sheikh-exposures/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220909T080000
DTEND;TZID=America/Halifax:20230108T170000
DTSTAMP:20260403T170042
CREATED:20220829T163610Z
LAST-MODIFIED:20220829T163610Z
UID:97189-1662710400-1673197200@artinamericaguide.com
SUMMARY:Bámigbóyè: A Master Sculptor of the Yorùbá Tradition
DESCRIPTION:Bámigbóyè: A Master Sculptor of the Yorùbá Tradition is the first exhibition dedicated to the workshop of the Nigerian artist Moshood Olúṣọmọ Bámigbóyè (ca. 1885–1975). Part of a generation of Yorùbá woodcarvers with flourishing workshops in southwestern Nigeria\, Bámigbóyè was highly regarded for the masks that he made in the 1920s and 1930s for ceremonies called Ẹpa. Today\, these masks are considered some of the most spectacular and complex works of Yorùbá art ever created. Drawn from the collections of national and international museums\, including the Yale University Art Gallery and the National Museum in Lagos\, Nigeria\, the masks and other sculptures in the exhibition—such as architectural elements from palaces and shrine complexes and objects made for a European clientele—present a nuanced account of the artist’s 50-year career. A selection of textiles\, beadwork\, metalwork\, and ceramics situates Bámigbóyè’s work within the broader scope of 20th-century Yorùbá creative expression\, while archival images show how his life and workshop practice reflect the artistic\, religious\, and political changes taking place in Nigeria at the time. With video footage of an Ẹpa performance staged by the artist’s family in honor of the exhibition Bámigbóyè: A Master Sculptor of the Yorùbá Tradition celebrates the global legacy of this artist while also underscoring his enduring importance to his community. \n  Save  
URL:https://artinamericaguide.com/event/bamigboye-a-master-sculptor-of-the-yoruba-tradition/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220909T080000
DTEND;TZID=America/Halifax:20230108T170000
DTSTAMP:20260403T170042
CREATED:20220829T163611Z
LAST-MODIFIED:20220829T163611Z
UID:97187-1662710400-1673197200@artinamericaguide.com
SUMMARY:Fazal Sheikh: Exposures
DESCRIPTION:Fazal Sheikh (born 1965) has spent his career photographing individuals and communities displaced by conflict and environmental change. Acclaimed for his intimate portraits\, Sheikh collaborates closely with his subjects to better understand and share their stories. This exhibition features Sheikh’s newest body of work\, Exposure (2017–22)\, as well as an earlier series\, Erasure (2010–15). To make Exposure\, set in the American Southwest\, Sheikh worked closely with the Utah Diné Bikéyah Native American grassroots organization to examine the human and environmental costs of the exploitation of public lands. The expansive landscapes seen in the series pay homage to the spiritual significance of the land\, while portraits and collected testimonies reveal the ongoing but often invisible effects of environmental racism\, especially on Indigenous inhabitants. In Erasure\, Sheikh presents aerial photographs that record the effects of cultivation\, displacement\, and climate change on the Negev Desert in southern Israel; the series also includes poignant portraits that put a human face to the struggle of Palestinian Bedouins to remain in villages slated for demolition. \n  Save  
URL:https://artinamericaguide.com/event/fazal-sheikh-exposures-2/
LOCATION:Yale University Art Gallery\, 1111 Chapel St\, New Haven\, CT\, 06510\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Yale University Art Gallery":MAILTO:artgalleryinfo@yale.edu
GEO:41.30839;-72.930958
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Yale University Art Gallery 1111 Chapel St New Haven CT 06510 United States;X-APPLE-RADIUS=500;X-TITLE=1111 Chapel St:geo:-72.930958,41.30839
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220909T180000
DTEND;TZID=America/Halifax:20230212T170000
DTSTAMP:20260403T170042
CREATED:20220812T213323Z
LAST-MODIFIED:20220822T171040Z
UID:96008-1662746400-1676221200@artinamericaguide.com
SUMMARY:Great Rivers Biennial 2022: Yowshien Kuo\, Yvonne Osei\, Jon Young
DESCRIPTION:The three artists selected for the tenth Great Rivers Biennial Arts Award Program\, Yowshien Kuo\, Yvonne Osei\, and Jon Young\, have proposed exhibitions that involve multi-component sculptures\, large-scale paintings\, and an immersive installation featuring video and photography. The award winners were chosen by a distinguished panel of jurors following individual studio visits with ten semi-finalists. More than 105 artists applied for the Great Rivers Biennial (GRB)\, a collaborative initiative between CAM and the Gateway Foundation designed to recognize artistic talent in the greater St. Louis metro area. Generously funded by the Gateway Foundation\, the GRB awards each artist with $20\,000 and a major exhibition in CAM’s main galleries. \nThe jurors—Carmen Hermo\, Associate Curator for the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art; Jen Liu\, a New York-based visual artist working in video\, painting\, dance performance\, and biomaterial; and Hamza Walker\, Director of LAXART\, a nonprofit art space in Los Angeles\, and adjunct professor at the School of Art Institute of Chicago—selected artists through each stage of the process. \nYowshien Kuo’s paintings feature glimmering candy-colored surfaces to mask haunting themes\, alluding to social trauma as a result of historical and contemporary narratives. The figures’ reactions to themselves and even the audience’s gaze intend to encourage viewers to confront potentially harmful cultural and social norms. The figures are intertwined with an environment that appears as a collage of reality and dreamscape\, often including visual artifacts that reveal the mood and intentions of the scene taking place. For his exhibition at CAM\, Kuo conveys these themes in new large-scale paintings with subtle installation elements to encourage contemplation and self-reflection. \nYvonne Osei’s multidisciplinary creative practice explores topics of beauty\, racism and colorism\, the authorship and ownership of history\, as well as the residual implications of colonialism in postcolonial West Africa and Western cultures. Through performance art\, engaging public spaces\, site-specific installations\, video\, photography\, garment construction\, and textile designs\, Osei’s work serves as a mouthpiece for generations that have been marginalized as she pushes against unilateral perspectives. The exhibition at CAM features an immersive photo-video installation that utilizes the language of clothing and textiles\, as well as the medium of time\, to reckon with past and ongoing racial atrocities in the United States. \nThrough wood\, sand\, and fabric sculptures\, Jon Young explores the development of language and signage of the American West. These works\, which he refers to as “waymarks\,” adopt historical symbols from Paleolithic cave paintings\, ancient Greek pottery\, and imagery found in Hollywood Westerns and Looney Tunes cartoons. Young’s work investigates and collapses layers of time and signifiers\, particularly relating to the Romanticism of the West. The artist characterizes his practice as attempting “to make a map using fluctuating symbols\, to get back to a home that hasn’t existed for a very long time or for so long that you question if it existed at all.” \nGreat Rivers Biennial 2022 is organized for the Contemporary Art Museum St. Louis by Wassan Al-Khudhairi\, Chief Curator. \n\nThe Great Rivers Biennial is made possible by the Gateway Foundation. \nImage: Yowshien Kuo\, Two Right Feet\, Snake Eyes and Cherry Pie\, 2022. Acrylic\, bone ash\, chalk\, synthetic fibers\, iridescent pigment\, plastic\, and glitter on canvas\, 46 x 70 inches. Courtesy the artist and Luce Gallery\, Torino\, Italy. \n  Save  
URL:https://artinamericaguide.com/event/great-rivers-biennial-2022-yowshien-kuo-yvonne-osei-jon-young/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220909T180000
DTEND;TZID=America/Halifax:20230212T170000
DTSTAMP:20260403T170042
CREATED:20220823T191442Z
LAST-MODIFIED:20220823T191442Z
UID:96998-1662746400-1676221200@artinamericaguide.com
SUMMARY:Mona Chalabi: Squeeze
DESCRIPTION:Data journalist\, illustrator\, and writer Mona Chalabi presents a large-scale\, site-specific exhibition on CAM’s Project Wall. Mona’s work is informed by statistics gathered on politics\, human rights\, demographics\, Covid infections\, climate change\, and many other topics—finding truth in numbers through her journalism\, and making that truth easier to digest through her illustrations. As the artist puts it\, “My job is to take a story and to zoom out and provide context for readers. And the thing that excites me about data is the scale of it. Data gives you a new frame of understanding.” For her exhibition at CAM\, Mona focuses on endangered species of plants and animals\, some of which are so close to extinction that every remaining member can fit on a New York subway car (if they squeeze). \nMona Chalabi (b. London\, 1987; lives and works in London) has published work in The New Yorker\, The New York Times\, The New York Review of Books\, New York Magazine\, The Guardian and many more. She has written for radio and TV including NPR\, Gimlet\, Netflix (The Fix)\, BBC (Is Britain Racist? Radio 4 and The Frankie Boyle Show)\, and National Geographic (Star Talk). As an illustrator her work has been commended by the Royal Statistical Society and has been exhibited at several galleries including the Tate\, The Design Museum\, and the House of Illustration. As a producer and presenter she is one half of the team that created the Emmy-nominated video series Vagina Dispatches. And she presented and produced the audio experiment Strange Bird. Before she became a journalist\, Mona worked with large data sets in jobs at the Bank of England\, Transparency International\, and the International Organization for Migration. She studied International Relations in Paris and studied Arabic in Jordan. \nMona Chalabi: Squeeze is organized for the Contemporary Art Museum St. Louis by Misa Jeffereis\, Associate Curator. \nThe exhibition is generously supported by the Whitaker Foundation\, and Nancy and Kenneth Kranzberg. \nImage: Mona Chalabi\, Endangered Species On A Train\, 2018. Source: IUCN Red List\, 2018. Courtesy the artist. \n  Save  
URL:https://artinamericaguide.com/event/mona-chalabi-squeeze/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Contemporary Art Museum St. Louis":MAILTO:info@camstl.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220909T180000
DTEND;TZID=America/Halifax:20230212T170000
DTSTAMP:20260403T170042
CREATED:20220823T191442Z
LAST-MODIFIED:20220823T191442Z
UID:97000-1662746400-1676221200@artinamericaguide.com
SUMMARY:We didn’t ask permission\, we just did it…
DESCRIPTION:The exhibition We didn’t ask permission\, we just did it…\, guest curated by Manuela Paz and Christopher Rivera of Embajada\, revisits three seminal series of exhibitions in Puerto Rico\, from 2000 to 2016\, that ushered in an independent spirit of art making that is now prevalent in the region: M&M Proyectos’ PR invitationals\, organized by Michy Marxuach; the Gran Tropical Bienals\, founded by Pablo León de la Barra; and Cave-In\, initiated by Mike Egan. The original projects\, which took the form of idiosyncratic biennials\, happenings\, or interventions by artists working in an array of unconventional mediums and international in scope\, in part spurred the self-reliant gallery community flourishing in San Juan\, Puerto Rico today. The exhibition conveys the sense of the ambition\, collective action\, and self-sufficiency of the artist-makers in and from Puerto Rico\, despite infrastructural limitations. \nThe exhibition draws on the archives of each project\, following a timeline and featuring a selection of original artworks\, documentation\, and ephemera paired with recreated artworks commissioned for this exhibition. The presentation at CAM extends into multiple spaces of the museum\, including the Front Gallery\, Street Views\, an intervention in the café\, and a selection of sculptures in the courtyard. \nWe didn’t ask permission\, we just did it… is organized for the Contemporary Art Museum St. Louis by guest curators Manuela Paz and Christopher Rivera of Embajada\, San Juan. \nThe exhibition is generously supported in part by the Elizabeth Firestone Graham Foundation\, Whitaker Foundation\, Berezdivin Collection\, Bernard I. Lumpkin and Carmine D. Boccuzzi\, Nada and Michael Gray\, and Eric and Tamara Schimmel. Special thanks to Barrett Barrera Projects. Street Views is generously supported by the Whitaker Foundation. The artist talk is sponsored by the Robert Lehman Foundation. \nImage: Ignacio González Lang\, Open Mic. Fortaleza #302 (detail)\, 2000. Featured in M&M proyectos’ PR ‘00 Paréntesis en la Ciudad\, Artistic Director Michy Marxuach\, October 9–14\, 2000\, San Juan\, Puerto Rico. Courtesy the artist and Michy Marxuach. \n  Save  
URL:https://artinamericaguide.com/event/we-didnt-ask-permission-we-just-did-it/
LOCATION:Contemporary Art Museum St. Louis\, 3750 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220910T100000
DTEND;TZID=America/Halifax:20230212T180000
DTSTAMP:20260403T170042
CREATED:20221017T175717Z
LAST-MODIFIED:20221017T175717Z
UID:99924-1662804000-1676224800@artinamericaguide.com
SUMMARY:Zaha Hadid Design: Untold
DESCRIPTION:“I think there should be no end to experimentation.” —Zaha Hadid (1950–2016) \nWorld-renowned architect and designer Zaha Hadid is known for her dazzling forms that defy expectations\, and for her dynamic approach to design—one that matched her vivacious personality. In 2008\, Hadid was announced as the winner of an international competition to design a new art museum on the campus of Michigan State University. This fall\, the Eli and Edythe Broad Art Museum at Michigan State University commemorates its 10th anniversary\, and we invite you to join us in celebrating the magnificent work and legacy of the late Zaha Hadid. \nIn observance of this momentous year\, Zaha Hadid Design: Untold presents a design-focused retrospective that explores Hadid’s pioneering vision\, and showcases the incredible range of her work and relentless pursuit of perfection. From furniture to dinnerware\, fashion\, jewelry\, lighting\, and even a prototype for an electric car\, the exhibition dives into Hadid’s philosophy and approach to redefining the built environment—and our experience therein. In partnership with her studio\, Zaha Hadid Design\, the exhibition is testament to the power of Hadid’s creative spirit—a lasting inspiration for generations to come. \nThe exhibition also pays tribute to the MSU Broad Art Museum’s architectural features\, and brings the museum and its galleries alive in ways never before experienced. The dynamic relationships revealed between objects and their environments within the exhibition invite visitors to consider their own experiences of the world\, the places they inhabit\, and objects of everyday life. Zaha Hadid Design: Untold is an unparalleled opportunity to immerse ourselves in the mind-bending brilliance of one of the most influential creative thinkers of our time. \nZaha Hadid Design: Untold is organized by the Eli and Edythe Broad Art Museum at Michigan State University. Major support for the exhibition is provided by the Eli and Edythe Broad Foundation\, Bonnie Larson\, Alan and Rebecca Ross\, and the MSU Federal Credit Union. \nThe exhibition is curated by former Director Dr. Mónica Ramírez-Montagut and Woody Yao of Zaha Hadid Design. Additional curatorial assistance is provided by Maha Kutay and Margarita Valova of Zaha Hadid Design; Senior Curator and Director of Curatorial Affairs Steven L. Bridges; Assistant Curator Rachel Winter; Curatorial Assistant Dalina A. Perdomo Álvarez; Curatorial Research and Administrative Assistants Elijah Hamilton-Wray and Thaís Wenstrom. Special thanks to the Zaha Hadid Design team for their contribution: Filipa Gomes\, Filippo Nassetti\, Johanna Huang\, Weilong Xie\, Dana Blaker\, Christopher Howell\, Shemima Chinery\, Davide Giordano (Alpheratz)\, and longtime collaborator Hélène Binet. \n  Save  
URL:https://artinamericaguide.com/event/zaha-hadid-design-untold/
LOCATION:Eli and Edythe Broad Art Museum at Michigan State University\, 547 E. Circle Dr.\, East Lansing\, MI\, 48824\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Eli and Edythe Broad Art Museum at Michigan State University":MAILTO:eebam@msu.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220916T080000
DTEND;TZID=America/Halifax:20230107T170000
DTSTAMP:20260403T170042
CREATED:20220610T175037Z
LAST-MODIFIED:20220916T131701Z
UID:93912-1663315200-1673110800@artinamericaguide.com
SUMMARY:REFLECTION. Jochen Hein. Mingjun Luo. Hiroshi Sugimoto. Zachary Eastwood-Bloom.
DESCRIPTION:“These landscapes of water and reflection are an obsession.” – Claude Monet \nReflection\, by definition\, the throwing back by a body or surface of light; serious thought or consideration. The works in ESTELLA’s exhibition\, REFLECTION\, each refer to the exhibition’s title in their own spell binding way. Each is\, at once\, calming and captivating\, containing ancient ideas of mastery and modern ideas of aesthetic self reflection. \nREFLECTION. Works by Jochen Hein\, Mingjun Luo\, Zachary Eastwood-Bloom and Hiroshi Sugimoto. On view 16 September 2022. \n  Save  
URL:https://artinamericaguide.com/event/reflection-jochen-hein-mingjun-luo/
LOCATION:Gallery Estella\, 440 Julia Street\, New Orleans\, LA\, 70130\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="ESTELLA":MAILTO:Michele@galleryestella.com
GEO:29.9451662;-90.0687696
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Gallery Estella 440 Julia Street New Orleans LA 70130 United States;X-APPLE-RADIUS=500;X-TITLE=440 Julia Street:geo:-90.0687696,29.9451662
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220916T100000
DTEND;TZID=America/Halifax:20230115T170000
DTSTAMP:20260403T170042
CREATED:20220818T204106Z
LAST-MODIFIED:20220818T210511Z
UID:96620-1663322400-1673802000@artinamericaguide.com
SUMMARY:Dare to Know: Prints and Drawings in the Age of Enlightenment
DESCRIPTION:See how the graphic arts inspired\, shaped\, and gave immediacy to new ideas in the Enlightenment era\, encouraging individuals to follow their own reason when seeking to know more. \nWhat role did drawings and prints play during the Enlightenment era\, from roughly 1720 to 1800? Dare to Know explores many nuances of this complex time—when political and cultural revolutions swept across Europe and the Americas\, spurring profound shifts in science\, philosophy\, the arts\, social and cultural encounters\, and our shared sense of history. Indeed\, the Enlightenment itself has been described as a “revolution of the mind.” Novel concepts in every realm of intellectual inquiry were communicated not only through text and speech\, but in prints and drawings that gave these ideas a visual\, concrete form. They made new things visible—and familiar things visible in powerful new ways. They wielded the potential to visually articulate\, reinforce\, or contradict beliefs as well as biases\, while also arguing for social action and imagining new realities. \nIn 1784\, in response to a journal article asking “What Is Enlightenment?\,” German philosopher Immanuel Kant argued that the Enlightenment’s main impulse was to “dare to know!”: to pursue knowledge for oneself\, without relying on others to interpret facts and experiences. But is this ever truly possible? \nBringing together 150 prints\, drawings\, books\, and other related objects from Harvard as well as collections in the United States and abroad\, this exhibition offers provocative insights into both the achievements and the failures of a period whose complicated legacies reverberate still today. Dare to Know asks new and sometimes uncomfortable questions of the so-called age of reason\, inviting visitors to embrace the Enlightenment’s same spirit of inquiry—to investigate\, to persuade\, and to imagine. \nCurated by Elizabeth M. Rudy\, Carl A. Weyerhaeuser Curator of Prints at the Harvard Art Museums\, and Kristel Smentek\, Associate Professor of Art History at the Massachusetts Institute of Technology. With special thanks to Heather Linton\, Curatorial Assistant for Special Exhibitions and Publications in the Division of European and American Art\, and Christina Taylor\, Associate Paper Conservator\, Straus Center for Conservation and Technical Studies. Research contributions by Austėja Mackelaitė\, Stanley H. Durwood Foundation Curatorial Fellow (2016–18)\, and by these Ph.D. candidates in Harvard’s Department of History of Art and Architecture and former graduate interns in the Division of European and American Art: J. Cabelle Ahn\, Thea Goldring\, and Sarah Lund. \nAn illustrated catalogue with 26 thematic essays—an A to Z exploration of the Enlightenment quest for understanding and change—accompanies the exhibition. \n  Save  
URL:https://artinamericaguide.com/event/dare-to-know-prints-and-drawings-in-the-age-of-enlightenment/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/08/Dagoty.jpg
ORGANIZER;CN="Harvard Art Museums":MAILTO:john_connolly@harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220919T103000
DTEND;TZID=America/Halifax:20230131T170000
DTSTAMP:20260403T170042
CREATED:20220922T113428Z
LAST-MODIFIED:20220922T113428Z
UID:98696-1663583400-1675184400@artinamericaguide.com
SUMMARY:Brenda Kingery: New Works
DESCRIPTION:New works on paper by Chickasaw artist Brenda Kingery. \nBrenda Kingery is a contemporary artist and champion of women’s empowerment around the world. Born in Oklahoma City\, Kingery earned a bachelor’s in fine arts and history from the University of Oklahoma. She attended graduate school at Ryukyus University in Okinawa and completed a master’s in arts from the University of Oklahoma. \nKingery returned to Okinawa\, where she taught drawing\, painting and Okinawan cultural history for the University of Maryland’s Far East Division. She later settled in San Antonio\, Texas\, where she taught at San Antonio College. Her artwork has been displayed in many private\, corporate and public collections around the world and is part of numerous permanent collections. \n  Save  
URL:https://artinamericaguide.com/event/brenda-kingery-new-works/
LOCATION:Glenn Green Galleries + Sculpture Garden\, 136 Tesuque Village Road\, Santa Fe (Tesuque)\, 87506\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/09/9b8khxcswx1f4erz28z3.jpg
ORGANIZER;CN="Glenn Green Galleries + Sculpture Garden":MAILTO:info@glenngreengalleries.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220919T103000
DTEND;TZID=America/Halifax:20230702T170000
DTSTAMP:20260403T170042
CREATED:20220922T113428Z
LAST-MODIFIED:20220922T113428Z
UID:98698-1663583400-1688317200@artinamericaguide.com
SUMMARY:Melanie A. Yazzie: Recent works
DESCRIPTION:Melanie Yazzie works a wide range of media that include printmaking\, painting\, sculpting\, and ceramics\, as well as installation art. Her art is accessible to the public on many levels and the main focus is on connecting with people and educating people about the contemporary status of one indigenous woman and hoping that people can learn from her experience. Her subject matter is significant because the serious undertones reference native post-colonial dilemmas. Her work often brings images of women from many indigenous cultures to the forefront. Thus her work references matrilineal systems and points to the possibility of female leadership. “There are many layers to the works and within the story\, many discover that our history is varied and deep. It is made clear that there are many indigenous peoples in the world and we all have different stories and it sometimes has a sad connection to mainstream society. Often misunderstood and overlooked are the ways in which we can all learn from each other and make a better world.” She has been represented by Glenn Green Galleries since 1993. \n  Save  
URL:https://artinamericaguide.com/event/melanie-a-yazzie-recent-works/
LOCATION:Glenn Green Galleries + Sculpture Garden\, 136 Tesuque Village Road\, Santa Fe (Tesuque)\, 87506\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Glenn Green Galleries + Sculpture Garden":MAILTO:info@glenngreengalleries.com
END:VEVENT
END:VCALENDAR